James Wilde

𝓐 𝓙𝓪𝓷𝓰𝓵𝓲𝓷𝓰 𝓕𝓻𝓮𝓼𝓱𝓷𝓮𝓼𝓼 Thanks to everyone who came to see us over the past few weeks. It’s felt so uplifting to see this emerge and it shows you what can happen in a such a small amount of time. Here’s to hopefully many more. It reminds me of what the florist said about the fresh tulips..how they need to be enjoyed immediately as they will burst open and spill out of the vases. Yesterday I saw the petals on the windowsill and thought of how that moment feels.. to rush towards enjoyment, to capture brilliance before it’s too late. Three Rooms 74 Beulah Road, London E17 9LE @threerooms_e17 Room One: C. Mae Bloom @maewhen Bruno Diaz @bruno.diazx Jame St Findlay @perfect.girlfriend Dominic Myatt @dominicmyatt Emma Sheehy @emma_sheehy_ 𝘊𝘶𝘳𝘢𝘵𝘪𝘰𝘯 𝘢𝘯𝘥 𝘸𝘰𝘳𝘥𝘴: 𝘑𝘢𝘮𝘦𝘴 𝘞𝘪𝘭𝘥𝘦

𝓐 𝓙𝓪𝓷𝓰𝓵𝓲𝓷𝓰 𝓕𝓻𝓮𝓼𝓱𝓷𝓮𝓼𝓼 Last weekend is by appointment only, it’s been heaven. Thank you to all the artists for being a part of this show and for everyone who gave a helping hand from the sidelines. ✨ Three Rooms 74 Beulah Road, London E17 9LE @threerooms_e17 @kate_williams_studio Room Two: Henry Glover @hgglover Beatrice Hasell-Mccosh @beatricehasellmecosh I. Mills @i.millls James Wilde @jameswilde 𝘊𝘶𝘳𝘢𝘵𝘪𝘰𝘯 𝘢𝘯𝘥 𝘸𝘰𝘳𝘥𝘴: 𝘑𝘢𝘮𝘦𝘴 𝘞𝘪𝘭𝘥𝘦

𝓐 𝓙𝓪𝓷𝓰𝓵𝓲𝓷𝓰 𝓕𝓻𝓮𝓼𝓱𝓷𝓮𝓼𝓼 Last weekend to catch the last glimpses. Thank you @kate_williams_studio ✨ Three Rooms 74 Beulah Road, London E17 9LE @threerooms_e17 Room Three: Jame St Findlay @perfect.girlfriend Diogo Gama @diogogama_ Henry Glover @hgglover Isabelle Young @isabellelyoung Willian Zou @zouwillian 𝘊𝘶𝘳𝘢𝘵𝘪𝘰𝘯 𝘢𝘯𝘥 𝘸𝘰𝘳𝘥𝘴: 𝘑𝘢𝘮𝘦𝘴 𝘞𝘪𝘭𝘥𝘦

𝒜 𝒥𝒶𝓃𝑔𝓁𝒾𝓃𝑔 𝐹𝓇𝑒𝓈𝒽𝓃𝑒𝓈𝓈 A soft drift through spring, where lightness lingers and something slightly wistful hums beneath it. A kind of melancholy, held in quiet harmony. Painting, sculpture, and photography gather here, unfolding slowly in a space that feels both intimate and open. PV: Thursday 9th April 5 - 8pm 9th - 12th April open 12 - 6pm open daily Three Rooms 74 Beulah Road, London E17 9LE @threerooms_e17 Exhibiting artists: C. Mae Bloom @maewhen Bruno Diaz @bruno.diazx Jame St Findlay @perfect.girlfriend Diogo Gama @diogogama__ Henry Glover @hgglover Beatrice Hasell-Mccosh @beatricehasellmccosh I. Mills @i.millls Dominic Myatt @dominicmyatt Emma Sheehy @emma_sheehy_ James Wilde @jameswilde Isabelle Young @isabellelyoung Willian Zou @zouwillian 𝘊𝘶𝘳𝘢𝘵𝘪𝘰𝘯 𝘢𝘯𝘥 𝘸𝘰𝘳𝘥𝘴: 𝘑𝘢𝘮𝘦𝘴 𝘞𝘪𝘭𝘥𝘦 𝘤𝘰𝘷𝘦𝘳 𝘪𝘮𝘢𝘨𝘦: 𝘍𝘰𝘳 𝘞𝘪𝘴𝘥𝘰𝘮, 𝘚𝘲𝘶𝘦𝘦𝘻𝘦! 2025 𝘉𝘳𝘶𝘯𝘰 𝘋𝘪𝘢𝘻 𝘤𝘰𝘶𝘳𝘵𝘦𝘴𝘺 𝘰𝘧 𝘵𝘩𝘦 𝘢𝘳𝘵𝘪𝘴𝘵.

Waking up to glimmers of hope. Celia Paul (‘Portrait, Eyes Lowered’) 2019, by Celia Paul Magnolias in my father’s garden. Daffodils in Kentish Town Balcony moon. Tulips in Hammersmith Last House (detail) 2013, by Hurvin Anderson

𝒜 𝒥𝒶𝓃𝑔𝓁𝒾𝓃𝑔 𝐹𝓇𝑒𝓈𝒽𝓃𝑒𝓈𝓈 A soft drift through spring, where lightness lingers and something slightly wistful hums beneath it. A kind of melancholy, held in quiet harmony. Painting, sculpture, and photography gather here, unfolding slowly in a space that feels both intimate and open. PV: Thursday 9th April 5 - 8pm 9th - 12th April open 12 - 6pm open daily 74 Beulah Road, London E17 9LE More information coming soon — looking forward to seeing you.

Lucie Freud sits in an armchair beneath which there is a large pestle and mortar, which Freud used to grind charcoal to mix with paint to create what he described as a ‘Londony’ palette. A weekend of drawing and sleeping. Full stomachs, living rooms, rugs in markets, slippers whilst reading and remembering loved ones.

In our nature, I am nearing the place 2025 Two flanking images of the James Caird, Ernest Shackleton’s lifeboat that in 1916 carried six men across the Antarctic Ocean, reside above a third image of a male figure strewn across an antique rug. The pairing of vessel and body is both literal and metaphorical. The Caird viewed from either side, carries the weight of endurance, navigation, and collective survival. Its double presence establishes a canopy, beneath which the body rests. Echoing histories of exploration, conquest, and masculine resilience. Yet, unlike the boat, the body appears still, vulnerable, and unmoored. The work takes its title from a line in Shackleton’s favourite poem, invoking the poetics of return. But return here is complicated, it suggests not a victorious homecoming but the quieter, unsettled experience of living with what one has endured. The central figure is turned away, his body is not the heroic masculine image that could be traditionally tied to Shackleton’s story, but one that speaks of fragility and retreat. The Caird’s sails enclose him, as if history itself presses in from both sides. Stillness becomes a counterpoint to motion, exposure a counterpoint to endurance. TABLE MANNERS @barbatigallery 10 January -14 February 2026 Palazzo Lezze, Campo Santo Stefano San Marco 2949, 30124 Venezia A group exhibition celebrating five years of The Artist Roundtable @artistroundtbl an initiative by @piechencool Courtesy the artist and Barbati Gallery, Venice, Italy. Photography: Andrea Rossetti @andrea_rossetti_archive

In a world increasingly defined by accelerated productivity, digital dispersion, and competitive individualism, Table Manners proposes a counterpoint: the quiet urgency of gathering. The table, at the heart of this exhibition, becomes more than a structure - it is a threshold. It holds the transition between solitude and solidarity, between private thought and public voice. Here, in the intimacy of shared space, fifty artists come forward not to perform certainty, but to sit with questions. In that act, they honour the threshold’s power: to open, to connect, to begin. TABLE MANNERS @barbatigallery 10 January -14 February 2026 Palazzo Lezze, Campo Santo Stefano San Marco 2949, 30124 Venezia A group exhibition celebrating five years of The Artist Roundtable @artistroundtbl an initiative by @piechencool Table Manners is not only an exhibition of artworks - it is the embodied outcome of many conversations, quiet encouragement, difficult questions, and moments of collective reflection. It stands as a thank you to all who have helped create a space where learning can be mutual, and where the act of gathering remains radical. A huge thank you goes to Pia, @piechencool who made the entire process so effortless. You have created such magic and this is only the beginning of so much more to come. And to Michele Barbati @mitchbarba for welcoming this project into his beautiful gallery @barbatigallery space, it’s been truly wonderful. Lastly, thank you to all the artists and the new friendships made from this major exhibition! I’m full of warmth! ✨ Courtesy the artists and Barbati Gallery, Venice, Italy. Photography: Andrea Rossetti @andrea_rossetti_archive Installation Views Courtesy the artists and Barbati Gallery, Venice, Italy. Photography: Matteo Lossurdo @matteo_losurdo Inauguration / Private View / Portrait (thank you!)

Amalfi Coast in August, 2025. Miss swimming at sunset and losing the horizon lines.

Bristol in October, 2025 Faces, cages and chambers.

Saint John the Baptist as a Boy (Raphael) c. 1518-1519 Oil on poplar panel The composition shows St John the Baptist as a boy wrapped into a leopard skin, pointing out at his reed cross from which emanates a halo of light and holding in his left hand a scroll, on which can be read ‘[AGNU]S DEI’ (i.e. lamb of God) alluding to the coming sacrifice of Christ. St John is set against a large piece of rock, perhaps the entrance of a cave, with a small stream running besides him. The features of the face are not as round and graceful as the original but look a little square and harsh. The original composition was evidently successful as many early copies are known. The present work, on poplar panel, was probably made in the 16th century in Italy, probably in Florence.